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If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: A Village Stradivarius Author: Kate Douglas Wiggin Release Date: October 27, 2014 [eBook #3148] [This file was first posted on January 3, 2001] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK A VILLAGE STRADIVARIUS*** Transcribed from the 1904 Gay and Bird edition by David Price, email ccx074@pglaf.org A VILLAGE STRADIVARIUS BY KATE DOUGLAS WIGGIN LONDON GAY AND BIRD 1904 THIS STORY APPEARS IN ‘THE VILLAGE WATCHTOWER.’ All rights reserved I “Goodfellow, Puck and goblins, Know more than any book. Down with your doleful problems, And court the sunny brook. The south-winds are quick-witted, The schools are sad and slow, The masters quite omitted The lore we care to know.” E MERSON’S April “F IND the three hundred and seventeenth page, Davy, and begin at the top of the right-hand column.” The boy turned the leaves of the old instruction book obediently, and then began to read in a sing- song, monotonous tone: “‘One of Pag-pag’”— “Pag-a-ni-ni’s” “‘One of Paggernyner’s’ (I wish all the fellers in your stories didn’t have such tough old names!) ‘most dis-as-ter-ous triumphs he had when playing at Lord Holland’s.’ (Who was Lord Holland, uncle Tony?) ‘Some one asked him to im-provise on the violin the story of a son who kills his father, runs a-way, becomes a high-way-man, falls in love with a girl who will not listen to him; so he leads her to a wild country site, suddenly jumping with her from a rock into an a-b-y-s-s’” “Abyss.” “‘—a—rock—into—an—abyss, where they disappear for ever. Paggernyner listened quietly, and when the story was at an end he asked that all the lights should be distinguished.’” “Look closer, Davy.” “‘Should be ex tinguished. He then began playing, and so terrible was the musical in-ter-pre-ta-tion of the idea which had been given him that several of the ladies fainted, and the sal-salon-s a lon, when relighted, looked like a battle-field.’ Cracky! Wouldn’t you like to have been there, uncle Tony? But I don’t believe anybody ever played that way, do you?” “Yes,” said the listener, dreamily raising his sightless eyes to the elm-tree that grew by the kitchen door. “I believe it, and I can hear it myself when you read the story to me. I feel that the secret of everything in the world that is beautiful, or true, or terrible, is hidden in the strings of my violin, Davy, but only a master can draw it from captivity.” “You make stories on your violin, too, uncle Tony, even if the ladies don’t faint away in heaps, and if the kitchen doesn’t look like a battle-field when you’ve finished. I’m glad it doesn’t, for my part, for I should have more housework to do than ever.” “Poor Davy! you couldn’t hate housework any worse if you were a woman; but it is all done for to- day. Now paint me one of your pictures, laddie; make me see with your eyes.” The boy put down the book and leaped out of the open door, barely touching the old millstone that served for a step. Taking a stand in the well-worn path, he rested his hands on his hips, swept the landscape with the glance of an eagle, and began like a young improvisator: “The sun is just dropping behind Brigadier Hill.” “What colour is it?” “Red as fire, and there isn’t anything near it—it’s almost alone in the sky; there’s only teeny little white feather clouds here and there. The bridge looks as if it was a silver string tying the two sides of the river together. The water is pink where the sun shines into it. All the leaves of the trees are kind of swimming in the red light—I tell you, nunky, just as if I was looking through red glass. The weather vane on Squire Bean’s barn dazzles so the rooster seems to be shooting gold arrows into the river. I can see the tip top of Mount Washington where the peak of its snow-cap touches the pink sky. The hen-house door is open. The chickens are all on their roost, with their heads cuddled under their wings.” “Did you feed them?” The boy clapped his hand over his mouth with a comical gesture of penitence, and dashed into the shed for a panful of corn, which he scattered over the ground, enticing the sleepy fowls by insinuating calls of “Chick, chick, chick, chick! Come , biddy, biddy, biddy, biddy! Come , chick, chick, chick, chick, chick!” The man in the doorway smiled as over the misdemeanour of somebody very dear and lovable, and rising from his chair felt his way to a corner shelf, took down a box, and drew from it a violin swathed in a silk bag. He removed the covering with reverential hands. The tenderness of his face was like that of a young mother dressing or undressing her child. As he fingered the instrument his hands seemed to have become all eyes. They wandered caressingly over the polished surface as if enamoured of the perfect thing that they had created, lingering here and there with rapturous tenderness on some special beauty—the graceful arch of the neck, the melting curves of the cheeks, the delicious swell of the breasts. When he had satisfied himself for the moment, he took the bow, and lifting the violin under his chin, inclined his head fondly toward it and began to play. The tone at first seemed muffled, but had a curious bite, that began in distant echoes, but after a few minutes’ playing grew firmer and clearer, ringing out at last with velvety richness and strength until the atmosphere was satiated with harmony. No more ethereal note ever flew out of a bird’s throat than Anthony Croft set free from this violin, his liebling , his “swan song,” made in the year he had lost his eyesight. Anthony Croft had been the only son of his mother, and she a widow. His boyhood had been exactly like that of all the other boys in Edgewood, save that he hated school a trifle more, if possible, than any of the others; though there was a unanimity of aversion in this matter that surprised and wounded teachers and parents. The school was the ordinary district school of that time; there were not enough scholars for what Cyse Higgins called a “degraded” school. The difference between Anthony and the other boys lay in the reason for as well as the degree of his abhorrence. He had come into the world a naked, starving human soul; he longed to clothe himself, and he was hungry and ever hungrier for knowledge; but never within the four walls of the village schoolhouse could he seize hold of one fact that would yield him its secret sense, one glimpse of clear light that would shine in upon the darkness of his mind, one thought or word that would feed his soul. The only place where his longings were ever stilled, where he seemed at peace with himself, where he understood what he was made for, was out of doors in the woods. When he should have been poring over the sweet, palpitating mysteries of the multiplication table, his vagrant gaze was always on the open window near which he sat. He could never study when a fly buzzed on the window-pane; he was always standing on the toes of his bare feet, trying to locate and understand the buzz that puzzled him. The book was a mute, soulless thing that had no relation to his inner world of thought and feeling. He turned ever from the dead seven-times-six to the mystery of life about him. He was never a special favourite with his teachers; that was scarcely to be expected. In his very early years, his pockets were gone through with every morning when he entered the school door, and the contents, when confiscated, would comprise a jew’s-harp, a bit of catgut, screws whittled out of wood, tacks, spools, pins, and the like. But when robbed of all these he could generally secrete a fragment of india-rubber drawn from an old pair of suspenders, and this, when put between his teeth and stretched to its utmost capacity, would yield a delightful twang when played upon with the forefinger. He could also fashion an interesting musical instrument in his desk by means of spools and catgut and bits of broken glass. The chief joy of his life was an old tuning-fork that the teacher of the singing-school had given him, but, owing to the degrading and arbitrary censorship of pockets that prevailed, he never dared bring it into the schoolroom. There were ways, however, of evading inexorable law and circumventing base injustice. He hid the precious thing under a thistle just outside the window. The teacher had sometimes a brief season of apathy on hot afternoons, when she was hearing the primer class read, “ I see a pig The pig is big The big pig can dig ”; which stirring phrases were always punctuated by the snores of the Hanks baby, who kept sinking down on his fat little legs in the line and giving way to slumber during the lesson. At such a moment Anthony slipped out of the window and snapped the tuning-fork several times—just enough to save his soul from death—and then slipped in again. He was caught occasionally, but not often; and even when he was, there were mitigating circumstances, for he was generally put under the teacher’s desk for punishment. It was a dark close, sultry spot, but when he was well seated, and had grown tired of looking at the triangle of black elastic in the teacher’s “congress” shoe, and tired of wishing it was his instead of hers, he would tie one end of a bit of thread to the button of his gingham shirt, and, carrying it round his left ear several times, make believe he was Paganini languishing in prison and playing on a violin with a single string. As he grew older there was no marked improvement, and Tony Croft was by general assent counted the laziest boy in the village. That he was lazy in certain matters merely because he was in a frenzy of industry to pursue certain others had nothing to do with the case, of course. If any one had ever given him a task in which he could have seen cause working to effect, in which he could have found by personal experiment a single fact that belonged to him, his own by divine right of discovery, he would have counted labour or study all joy. He was one incarnate Why and How; one brooding wonder and interrogation point. “Why does the sun drive away the stars? Why do the leaves turn red and gold? What makes the seed swell in the earth? From whence comes the life hidden in the egg under the bird’s breast? What holds the moon in the sky? Who regulates her shining? Who moves the wind? Who made me, and what am I? Who, why, how, whither? If I came from God but only lately, teach me his lessons first, put me into vital relation with life and law, and then give me your dead signs and equivalents for real things, that I may learn more and more, and ever more and ever more.” These were the questions his eager soul was always asking of the outer world. There was no spirit in Edgewood bold enough to conceive that Tony learned anything in the woods, but as there was never sufficient school money to keep the village seat of learning open more than half the year, the boy educated himself at the fountain head of wisdom and knowledge the other half. His mother, who owned him for a duckling hatched from a hen’s egg, and was never quite sure he would not turn out a black sheep and a crooked stick to boot, was obliged to confess that Tony had more useless information than any boy in the village. He knew just where to find the first Mayflowers, and would bring home the waxen beauties when other people had scarcely begun to think about the spring. He could tell where to look for the rare fringed gentian, the yellow violet, the Indian pipe. There were clefts in the high rocks by the river side where, when every one else failed, he could find harebells and columbines. When his tasks were done, and the other boys were amusing themselves each in his own way, you would find Tony lying flat on the pine-needles in the woods, listening to the notes of the wild birds, and imitating them patiently, till you could scarcely tell which was boy and which was bird; and if you could, the birds couldn’t, for many a time he coaxed the bobolinks and thrushes to perch on the low boughs above his head, where they chirped to him as if he were a feathered brother. There was nothing about the building of nests with which he was not familiar. He could have helped in the task, if the birds had not been so shy, and if he had possessed beak and claw instead of clumsy fingers. He would sit near a beehive for hours without moving, or lie prone in the sandy road, under the full glare of the sun, watching the ants acting out their human comedy; sometimes surrounding a favourite hill with stones, that the comedy might not be turned into tragedy by a careless footfall. The cottage on the river road grew more and more to resemble a museum and herbarium as the years went by, and the Widow Croft’s weekly house-cleaning was a matter that called for the exercise of Christian grace. Still, Tony was a good son, affectionate, considerate, and obedient. His mother had no idea that he would ever be able, or indeed willing, to make a living; but there was a forest of young timber growing up, a small hay farm to depend upon, and a little hoard that would keep him out of the poorhouse when she died and left him to his own devices. It never occurred to her that he was in any way remarkable. If he were difficult to understand, it reflected more upon his eccentricity than upon her density. What was a woman to do with a boy of twelve who, when she urged him to drop the old guitar he was taking apart and hurry off to school, cried, “Oh, mother! when there is so much to learn in this world, it is wicked, wicked, to waste time in school.” About this period Tony spent hours in the attic arranging bottles and tumblers into a musical scale. He also invented an instrument made of small and great, long and short pins, driven into soft board to different depths, and when the widow passed his door on the way to bed she invariably saw this barbaric thing locked to the boy’s breast, for he often played himself to sleep with it. At fifteen he had taken to pieces and put together again, strengthened, soldered, mended, and braced, every accordion, guitar, melodeon, dulcimer, and fiddle in Edgewood, Pleasant River, and the neighbouring villages. There was a little money to be earned in this way, but very little, as people in general regarded this “tinkering” as a pleasing diversion in which they could indulge him without danger. As an example of this attitude, Dr. Berry’s wife’s melodeon had lost two stops, the pedals had severed connection with the rest of the works, it wheezed like an asthmatic, and two black keys were missing. Anthony worked more than a week on its rehabilitation, and received in return Mrs. Berry’s promise that the doctor would “pull a tooth” for him some time! This, of course, was a guerdon for the future, but it seemed pathetically distant to the lad who had never had a toothache in his life. He had to plead with Cyse Higgins for a week before that prudent young farmer would allow him to touch his five-dollar fiddle. He obtained permission at last only by offering to give Cyse his calf in case he spoiled the violin. “That seems square,” said Cyse doubtfully, “but after all, you can’t play on a calf!” “Neither will your fiddle give milk, if you keep it long enough,” retorted Tony; and this argument was convincing. So great was his confidence in Tony’s skill that Squire Bean trusted his father’s violin to him, one that had been bought in Berlin seventy years before. It had been hanging on the attic wall for a half- century, so that the back was split in twain, the sound-post lost, the neck and the tailpiece cracked. The lad took it home, and studied it for two whole evenings before the open fire. The problem of restoring it was quite beyond his abilities. He finally took the savings of two summers’ “blueberry money” and walked sixteen miles to the nearest town, where he bought a book called “The Practical Violinist.” The supplement proved to be a mine of wealth. Even the headings appealed to his imagination and intoxicated him with their suggestions—On Scraping, Splitting, and Repairing Violins, Violin Players, Great Violinists, Solo Playing, &c.; and at the very end a Treatise on the Construction, Preservation, Repair, and Improvement of the Violin, by Jacob Augustus Friedheim, Instrument Maker to the Court of the Archduke of Weimar. There was a good deal of moral advice in the preface that sadly puzzled the boy, who was always in a condition of chronic amazement at the village disapprobation of his favourite fiddle. That the violin did not in some way receive the confidence enjoyed by other musical instruments, he perceived from various paragraphs written by the worthy author of “The Practical Violinist,” as for example: “Some very excellent Christian people hold a strong prejudice against the violin because they have always known it associated with dancing and dissipation. Let it be understood that your violin is ‘converted,’ and such an objection will no longer lie against it . . . Many delightful hours may be enjoyed by a young man, if he has obtained a respectable knowledge of his instrument, who otherwise would find the time hang heavy on his hands; or, for want of some better amusement, would frequent the dangerous and destructive paths of vice and be ruined for ever. I am in hopes, therefore, my dear young pupil, that your violin will occupy your attention at just those very times when, if you were immoral or dissipated, you would be at the grogshop, gaming-table, or among vicious females. Such a use of the violin, notwithstanding the prejudices many hold against it, must contribute to virtue, and furnish abundance of innocent and entirely unobjectionable amusement. These are the views with which I hope you have adopted it, and will continue to cherish and cultivate it.” II “There is no bard in all the choir, . . . . . . . Not one of all can put in verse, Or to this presence could rehearse The sights and voices ravishing The boy knew on the hills in spring, When pacing through the oaks he heard Sharp queries of the sentry-bird, The heavy grouse’s sudden whir, The rattle of the kingfisher.” E MERSON’S Harp N OW began an era of infinite happiness, of days that were never long enough, of evenings when bedtime came all too soon. Oh, that there had been some good angel who would have taken in hand Anthony Croft the boy, and, training the powers that pointed so unmistakably in certain directions, given to the world the genius of Anthony Croft, potential instrument maker to the court of St. Cecilia; for it was not only that he had the fingers of a wizard; his ear caught the faintest breath of harmony or hint of discord, as “Fairy folk a-listening Hear the seed sprout in the spring, And for music to their dance Hear the hedge-rows wake from trance; Sap that trembles into buds Sending little rhythmic floods Of fairy sound in fairy ears. Thus all beauty that appears Has birth as sound to finer sense And lighter-clad intelligence.” As the universe is all mechanism to one man, all form and colour to another, so to Anthony Croft the world was all melody. Notwithstanding these many gifts and possibilities, the doctor’s wife advised the Widow Croft to make a plumber of him, intimating delicately that these freaks of nature, while playing no apparent part in the divine economy, could sometimes be made self-supporting. The seventeenth year of his life marked a definite epoch in his development. He studied Jacob Friedheim’s treatise until he knew the characteristics of all the great violin models, from the Amatis, Hieronymus, Antonius, and Nicolas, to those of Stradivarius, Guarnerius, and Steiner. It was in this year, also, that he made a very precious discovery. While browsing in the rubbish in Squire Bean’s garret to see if he could find the missing sound-post of the old violin, he came upon a billet of wood wrapped in cloth and paper. When unwrapped, it was plainly labelled “Wood from the Bean Maple at Pleasant Point; the biggest maple in York County, and believed to be one of the biggest in the State of Maine.” Anthony found that the oldest inhabitant of Pleasant River remembered the stump of the tree, and that the boys used to jump over it and admire its proportions whenever they went fishing at the Point. The wood, therefore, was perhaps eighty or ninety years old. The squire agreed willingly that it should be used to mend the ancient violin, and told Tony he should have what was left for himself. When, by careful calculation, he found that the remainder would make a whole violin, he laid it reverently away for another twenty years, so that he should be sure it had completed its century of patient waiting for service, and falling on his knees by his bedside said, “I thank Thee, Heavenly Father, for this precious gift, and I promise from this moment to gather the most beautiful wood I can find, and lay it by where it can be used some time to make perfect violins, so that if any creature as poor and as helpless as I am needs the wherewithal to do good work, I shall have helped him as Thou hast helped me.” And according to his promise so he did, and the pieces of richly curled maple, of sycamore, and of spruce began to accumulate. They were cut from the sunny side of the trees, in just the right season of the year, split so as to have a full inch thickness towards the bark, and a quarter-inch towards the heart. They were then laid for weeks under one of the falls in Wine Brook, where the musical tinkle, tinkle of the stream fell on the wood already wrought upon by years of sunshine and choruses of singing birds. This boy, toiling not alone for himself, but with full and conscious purpose for posterity also, was he not worthy to wear the mantle of Antonius Stradivarius? “That plain white-aproned man who stood at work Patient and accurate full fourscore years, Cherished his sight and touch by temperance And since keen sense is love of perfectness, Made perfect violins, the needed paths For inspiration and high mastery.” And as if the year were not full enough of glory, the school-teacher sent him a book with a wonderful poem in it. That summer’s teaching had been the freak of a college student, who had gone back to his senior year strengthened by his experience of village life. Anthony Croft, who was only three or four years his junior, had been his favourite pupil and companion. “How does Tony get along?” asked the Widow Croft when the teacher came to call. “Tony? Oh, I can’t teach him anything.” Tears sprang to the mother’s eyes. “I know he ain’t much on book learning,” she said apologetically, “but I’m bound he don’t make you no trouble in deportment.” “I mean,” said the school-teacher gravely, “that I can show him how to read a little Latin and do a little geometry, but he knows as much in one day as I shall ever know in a year.” Tony crouched by the old fireplace in the winter evenings, dropping his knife or his compasses a moment to read aloud to his mother, who sat in the opposite corner knitting: “Of old Antonio Stradivari—him Who a good century and a half ago Put his true work in the brown instrument, And by the nice adjustment of its frame Gave it responsive life, continuous With the master’s finger-tips, and perfected Like them by delicate rectitude of use.” The mother listened with painful intentness. “I like the sound of it,” she said, “but I can’t hardly say I take in the full sense.” “Why, mother,” said the lad, in a rare moment of self-expression, “you know the poetry says he cherished his sight and touch by temperance; that an idiot might see a straggling line and be content, but he had an eye that winced at false work, and loved the true. When it says his finger-tips were perfected by delicate rectitude of use, I think it means doing everything as it is done in heaven, and that anybody who wants to make a perfect violin must keep his eye open to all the beautiful things God has made, and his ear open to all the music he has put into the world, and then never let his hands touch a piece of work that is crooked or straggling or false, till, after years and years of rightness, they are fit to make a violin like the squire’s, a violin that can say everything, a violin that an angel wouldn’t be ashamed to play on.” Do these words seem likely ones to fall from the lips of a lad who had been at the tail of his class ever since his primer days? Well, Anthony was seventeen now, and he was “educated,” in spite of sorry recitations—educated, the Lord knows how! Yes, in point of fact the Lord does know how! He knows how the drill and pressure of the daily task, still more the presence of the high ideal, the inspiration working from within, how these educate us. The blind Anthony Croft sitting in the kitchen doorway had seemingly missed the heights of life he might have trod, and had walked his close on fifty years through level meadows of mediocrity, a witch in every finger-tip waiting to be set to work, head among the clouds, feet stumbling, eyes and ears open to hear God’s secret thought; seeing and hearing it, too, but lacking force to speak it forth again; for while imperious genius surmounts all obstacles, brushes laws and formulas from its horizon, and with its own free soul sees its “path and the outlets of the sky,” potential genius for ever needs an angel of deliverance to set it free. Poor Anthony Croft, or blessed Anthony Croft, I know not which—God knows! Poor he certainly was, yet blessed after all. “One thing I do,” said Paul. “One thing I do,” said Anthony. He was not able to realise his ideals, but he had the angel aim by which he idealised his reals. O waiting heart of God! how soon would Thy kingdom come if we all did our allotted tasks, humble or splendid, in this consecrated fashion! III “Therein I hear the Parcæ reel The threads of man at their humming wheel, The threads of life and power and pain, So sweet and mournful falls the strain.” E MERSON’S Harp O LD Mrs. Butterfield had had her third stroke of paralysis, and died of a Sunday night. She was all alone in her little cottage on the river bank, with no neighbour nearer than Croft’s, and nobody there but a blind man and a small boy. Everybody had told her it was foolish for a frail old woman of seventy to live alone in a house on the river road, and everybody was pleased, in a discreet and chastened fashion of course, that it had turned out exactly as they had predicted. Aunt Mehitable Tarbox was walking up to Milliken’s Mills, with her little black reticule hanging over her arm, and noticing that there was no smoke coming out of the Butterfield chimney, and that the hens were gathered about the kitchen door clamouring for their breakfast, she thought it best to stop and knock. No response followed the repeated blows from her hard knuckles. She then tapped smartly on Mrs. Butterfield’s bedroom window with her thimble finger. This proving of no avail, she was obliged to pry open the kitchen shutter, split open the screen of mosquito netting with her shears, and crawl into the house over the sink. This was a considerable feat for a somewhat rheumatic elderly lady, but this one never grudged trouble when she wanted to find out anything. When she discovered that her premonitions were correct, and old Mrs. Butterfield was indeed dead, her grief at losing a pleasant acquaintance was largely mitigated by her sense of importance at being first on the spot, and chosen by Providence to take command of the situation. There were no relations in the village; there was no woman neighbour within a mile: it was therefore her obvious Christian duty not only to take charge of the “remains,” but to conduct such a funeral as the remains would have wished for herself. The fortunate Vice-President suddenly called upon by destiny to guide the ship of state, the soldier who sees a possible Victoria Cross in a hazardous engagement, can have a faint conception of Aunt Hitty’s feeling on this momentous occasion. Funerals were the very breath of her life. There was no ceremony, either of public or private import, that, to her mind, approached a funeral in real satisfying interest. Yet, with distinct talent in this direction, she had always been “cabined, cribbed, confined” within hopeless limitations. She had assisted in a secondary capacity at funerals in the families of other people, but she would have revelled in personally conducted ones. The members of her own family stubbornly refused to die, however, even the distant connections living on and on to a ridiculous old age; and if they ever did die, by reason of a falling roof, shipwreck, or conflagration, they generally died in Texas or Iowa, or some remote State where Aunt Hitty could not follow the hearse in the first carriage. This blighted ambition was a heart-sorrow of so deep and sacred a character that she did not even confess it to “Si,” as her appendage of a husband was called. Now at last her chance for planning a funeral had come. Mrs. Butterfield had no kith or kin save her niece, Lyddy Ann, who lived in Andover, or Lawrence, or Haverhill, Massachusetts—Aunt Hitty couldn’t remember which, and hoped nobody else could. The niece would be sent for when they found out where she lived; meanwhile the funeral could not be put off. She glanced round the house preparatory to locking it up and starting to notify Anthony Croft. She would just run over and talk to him about ordering the coffin; then she could attend to all other necessary preliminaries herself. The remains had been well-to-do, and there was no occasion for sordid economy, so Aunt Hitty determined in her own mind to have the latest fashion in everything, including a silver coffin-plate. The Butterfield coffin-plates were a thing to be proud of. They had been sacredly preserved for years and years, and the entire collection—numbering nineteen in all— had been framed, and adorned the walls of the deceased lady’s best room. They were not of solid silver, it is true, but even so it was a matter of distinction to have belonged to a family that could afford to have nineteen coffin-plates of any sort. Aunt Hitty planned certain dramatic details as she walked down the road to Croft’s. It came to her in a burst of inspiration that she would have two ministers: one for the long prayer, and one for the short prayer and the remarks. She hoped that Elder Weeks would be adequate in the latter direction. She knew she couldn’t for the life of her think of anything interesting to say about Mrs. Butterfield, save that she possessed nineteen coffin-plates, and brought her hens to Edgewood every summer for their health; but she had heard Elder Weeks make a moving discourse out of less than that. To be sure, he needed priming, but she would be equal to the occasion. There was Ivory Brown’s funeral: how would that have gone on if it hadn’t been for her? Wasn’t the elder ten minutes late, and what would his remarks have amounted to without her suggestions? You might almost say she was the author of the discourse, for she gave the elder all the appropriate ideas. As she had helped him out of the waggon she had said: “Are you prepared? I thought not; but there’s no time to lose. Remember there are aged parents; two brothers living—one railroading in Spokane Falls, the other clerking in Washington, D.C. Don’t mention the Universalists—there’s be’n two in the fam’ly; nor insanity—there’s be’n one o’ them. The girl in the corner is the one that the remains has be’n keeping comp’ny with. If you can make some genteel allusions to her, it’ll be much appreciated by his folks.” As to the long prayer, she knew that the Rev. Mr. Ford could be relied on to pray until Aunt Becky Burnham should twitch him by the coat-tails. She had done it more than once. She had also, on one occasion, got up and straightened his ministerial neckerchief, which he had gradually “prayed” around his saintly neck until it had lodged behind the right ear. These plans proved so fascinating to Aunt Hitty that she walked quite half a mile beyond Croft’s, and was obliged to retrace her steps. Meantime, she conceived bands of black alpaca for the sleeves and hats of the pall-bearers, and a festoon of the same over the front gate, if there should be any left over. She planned the singing by the choir. There had been no real choir-singing at any funeral in Edgewood since the Rev. Joshua Beckwith had died. She would ask them to open with— This was a favourite funeral hymn. The only difficulty would be in keeping Aunt Becky Burnham from pitching it in a key where nobody but a soprano skylark, accustomed to warble at a great height, could possibly sing it. It was generally given at the grave, when Elder Weeks officiated; but it never satisfied Aunt Hitty, because the good elder always looked so unpicturesque when he threw a red bandanna handkerchief over his head before beginning the twenty-seven verses. After the long prayer, she would have Almira Berry give for a solo— This hymn, if it did not wholly reconcile one to death, enabled one to look upon life with sufficient solemnity. It was a thousand pities, she thought, that the old hearse was so shabby and rickety, and that Gooly Eldridge, who drove it, would insist on wearing a faded peach-blow overcoat. It was exasperating to think of the public spirit at Egypt, and contrast it with the state of things at Pleasant River. In Egypt, they had sold the old hearse-house for a sausage-shop, and now they were having “hearse sociables” every month to raise money for a new one. All these details flew through Aunt Hitty’s mind in fascinating procession. There shouldn’t be “a hitch” anywhere. There had been a hitch at her last funeral, but she had been only an assistant there. Matt Henderson had been struck by lightning at the foot of Squire Bean’s old nooning tree, and certain circumstances combined to make the funeral one of unusual interest, so much so much so that fat old Mrs. Potter from Deerwander created a sensation at the cemetery. She was so anxious to get where she could see everything to the best advantage that she crowded too near the bier, stepped on the sliding earth, and pitched into the grave. As she weighed over two hundred pounds, and was in a position of some disadvantage, it took five men to extricate her from the dilemma, and the operation made a long and somewhat awkward break in the religious services. Aunt Hitty always said of this catastrophe, “If I’d ’a’ be’n Mis’ Potter, I’d ’a’ be’n so mortified I believe I’d ’a’ said, ‘I wa’n’t plannin’ to be buried, but now I’m in here I declare I’ll stop.’” * * * * * Old Mrs. Butterfield’s funeral was not only voted an entire success by the villagers, but the seal of professional approval was set upon it by an undertaker from Saco, who declared that Mrs. Tarbox could make a handsome living in the funeral line anywhere. Providence, who always assists those who assist themselves, decreed that the niece Lyddy Ann should not arrive until the aunt was safely buried; so, there being none to resist her right or grudge her the privilege, Aunt Hitty, for the first time in her life, rode in the next buggy to the hearse. Si, in his best suit, a broad weed and weepers, drove Cyse Higgins’ black colt, and Aunt Hitty was dressed in deep mourning, with the Widow Buzzell’s crape veil over her face, and in her hand a palm-leaf fan tied with a black ribbon. Her comment to Si, as she went to her virtuous couch that night, was: “It was an awful dry funeral, but that was the only flaw in it. It would ’a’ be’n perfect if there’d be’n anybody to shed tears. I come pretty nigh it myself, though I ain’t no relation, when Elder Weeks said, ‘You’ll go round the house, my sisters, and Mis’ Butterfield won’t be there; you’ll go int’ the orchard, and Mis’ Butterfield won’t be there; you’ll go int’ the barn, and Mis’ Butterfield won’t be there; you’ll go int’ the shed, and Mis’ Butterfield wont be there; you’ll go int’ the hencoop, and Mis’ Butterfield won’t be there!’ That would ’a’ draw’d tears from a stone, ’most, ’specially sence Mis’ Butterfield set such store by her hens.” And this is the way that Lyddy Butterfield came into her kingdom, a little lone brown house on the river’s brim. She had seen it only once before when she had drives, out from Portland, years ago, with her aunt. Mrs. Butterfield lived in Portland, but spent her summers in Edgewood on account of her chickens. She always explained that the country was dreadful dull for her, but good for the hens; they always laid so much better in the winter time. Lyddy liked the place all the better for its loneliness. She had never had enough of solitude, and this quiet home, with the song of the river for company, if one needed more company than chickens and a cat, satisfied all her desires, particularly as it was accompanied by a snug little income of two hundred dollars a year, a meagre sum that seemed to open up mysterious avenues of joy to her starved, impatient heart. When she was a mere infant, her brother was holding her on his knee before the great old-fashioned fireplace heaped with burning logs. A sudden noise startled him, and the crowing, restless baby gave an unexpected lurch, and slipped, face downward, into the glowing embers. It was a full minute before the horror-stricken boy could extricate the little creature from the cruel flame that had already done its fatal work. The baby escaped with her life, but was disfigured for ever. As she grew older, the gentle hand of time could not entirely efface the terrible scars. One cheek was wrinkled and crimson, while one eye and the mouth were drawn down pathetically. The accident might have changed the disposition of any child, but Lyddy chanced to be a sensitive, introspective bit of feminine humanity, in whose memory the burning flame was never quenched. Her mother, partly to conceal her own wounded vanity, and partly to shield the timid, morbid child, kept her out of sight as much as possible; so that at sixteen, when she was left an orphan, she had lived almost entirely in solitude. She became, in course of time, a kind of general nursery governess in a large family of motherless children. The father was almost always away from home; his sister kept the house, and Lyddy stayed in the nursery, bathing the babies and putting them to bed, dressing them in the morning, and playing with them in the safe privacy of the garden or the open attic. They loved her, disfigured as she was—for the child despises mere externals, and explores the heart of things to see whether it be good or evil—but they could never induce her to see strangers, nor to join any gathering of people. The children were grown and married now, and Lyddy was nearly forty when she came into possession of house and lands and fortune; forty, with twenty years of unexpended feeling pent within her. Forty —that is rather old to be interesting, but age is a relative m